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- Duration: 1:17:36
- Updated: 17 Jan 2013
- published: 24 Dec 2008
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Millennium: | 2nd millennium |
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Centuries: | 19th century – 20th century – 21st century |
Decades: | 1900s 1910s 1920s – 1930s – 1940s 1950s 1960s |
Years: | 1932 1933 1934 – 1935 – 1936 1937 1938 |
1935 by topic: |
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Gregorian calendar | 1935 MCMXXXV |
Ab urbe condita | 2688 |
Armenian calendar | 1384 ԹՎ ՌՅՁԴ |
Assyrian calendar | 6685 |
Bahá'í calendar | 91–92 |
Bengali calendar | 1342 |
Berber calendar | 2885 |
British Regnal year | 24 Geo. 5 – 25 Geo. 5 |
Buddhist calendar | 2479 |
Burmese calendar | 1297 |
Byzantine calendar | 7443–7444 |
Chinese calendar | 甲戌年十一月廿六日 (4571/4631-11-26) — to —
乙亥年十二月初六日(4572/4632-12-6) |
Coptic calendar | 1651–1652 |
Ethiopian calendar | 1927–1928 |
Hebrew calendar | 5695–5696 |
Hindu calendars | |
- Vikram Samvat | 1991–1992 |
- Shaka Samvat | 1857–1858 |
- Kali Yuga | 5036–5037 |
Holocene calendar | 11935 |
Iranian calendar | 1313–1314 |
Islamic calendar | 1353–1354 |
Japanese calendar | Shōwa 10 (昭和10年) |
Julian calendar | Gregorian minus 13 days |
Korean calendar | 4268 |
Minguo calendar | ROC 24 民國24年 |
Thai solar calendar | 2478 |
Wikimedia Commons has media related to: 1935 |
Year 1935 (MCMXXXV) was a common year starting on Tuesday (link will display full calendar) of the Gregorian calendar.
Morihei Ueshiba 植芝 盛平 Ueshiba Morihei |
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Morihei Ueshiba |
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Born | Tanabe, Wakayama, Japan |
December 14, 1883
Died | April 26, 1969 Iwama, Ibaraki, Japan of hepatocellular carcinoma |
(aged 85)
Nationality | Japanese |
Style | Founder of Aikido |
Morihei Ueshiba (植芝 盛平 Ueshiba Morihei , December 14, 1883 – April 26, 1969) was a famous martial artist and founder of the Japanese martial art of aikido. He is often referred to as "the founder" Kaiso (開祖 ) or Ōsensei (大先生/翁先生 ), "Great Teacher".
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Morihei Ueshiba was born in Tanabe, Wakayama Prefecture, Japan on December 14, 1883.[1] [2]
The only son of Yoroku and Yuki Ueshiba's five children, Morihei was raised in a somewhat privileged setting. His father was a rich landowner who also traded in lumber and fishing and was politically active. Ueshiba was a rather weak, sickly child and bookish in his inclinations. At a young age his father encouraged him to take up sumo wrestling and swimming and entertained him with stories of his great-grandfather Kichiemon who was considered a very strong samurai in his era. The need for such strength was further emphasized when the young Ueshiba witnessed his father being attacked by followers of a competing politician.[3]
Ueshiba is known to have studied several martial arts in his life but he did not train extensively in most and even his training in Yagyū Shingan-ryū was sporadic due to his military service in those years. Records show that he trained in Tenjin Shin'yō-ryū jujutsu under Tozawa Tokusaburō for a short period in 1901 in Tokyo; Gotō-ha Yagyū Shingan-ryū under Nakai Masakatsu from 1903 to 1908 in Sakai, and judo under Kiyoichi Takagi 1911 in Tanabe.[1] However, it was only after moving to the northern island of Hokkaidō in 1912 with his wife, as part of a settlement effort, that his martial art training took on real depth. For it was here that he began his study of Daitō-ryū aiki-jūjutsu under its reviver Takeda Sokaku.[1] He characterized his early training thus:
“ | At about the age of 14 or 15. First I learned Tenjin Shin'yō-ryū Jujutsu from Tokusaburo Tozawa Sensei, then Kito-ryu, Yagyu-ryu, Aioi-ryu, Shinkage-ryu, all of those jujutsu forms. However, I thought there might be a true form of budo elsewhere. I tried Hozoin-ryu sojitsu and kendo. But all of these arts are concerned with one-to-one combat forms and they could not satisfy me. So I visited many parts of the country seeking the Way and training, but all in vain. ... I went to many places seeking the true budo. Then, when I was about 30 years old, I settled in Hokkaido. On one occasion, while staying at Hisada Inn in Engaru, Kitami Province, I met a certain Sokaku Takeda Sensei of the Aizu clan. He taught Daito-ryu jujutsu. During the 30 days in which I learned from him I felt something like an inspiration. Later, I invited this teacher to my home and together with 15 or 16 of my employees became a student seeking the essence of budo.
Did you discover aikido while you were learning Daito-ryu under Sokaku Takeda? No. It would be more accurate to say that Takeda Sensei opened my eyes to budo.[4] |
” |
The technical curriculum of aikido was undoubtedly most greatly influenced by the teachings of Takeda Sokaku and his system of aiki-jūjutsu called Daitō-ryū.[1] Although disputed by some, the ledger books of Takeda clearly show that Ueshiba spent a great deal of time training in Daitō-ryū between 1915 and 1937. He received the majority of the important scrolls awarded by Takeda at this time including the Hiden Mokuroko, the Hiden Ogi and the Goshin'yo te. Ueshiba received his kyoju dairi certificate, or teaching license, for the system from Takeda in 1922. Takeda had not yet implemented a menkyo license, or highest level of achievement license, into his system at this time. He also received a Kashima Shinden Jikishinkage-ryū sword transmission scroll from Takeda in 1922 in Ayabe. Ueshiba then became a representative of Daitō-ryū, toured with Takeda as a teaching assistant and taught the system to others under the Daitō-ryū name.[1]
The basic techniques of aikido seem to have their basis in teachings from various points in the Daitō-ryū curriculum. A source of confusion is the different names used for these techniques in aikido and in the Daitō-ryū system. In part this is because Takeda Tokimune added much of the nomenclature after the period in which Ueshiba studied. In addition the names ikkajo, nikkajo, sankajo used in both Daitō-ryū and the early years of aikido, latter supplanted by terms such as ikkyo, nikkyo, sankyo, were really generic names translating to "first teaching", "second teaching", and so on.[5] In Daitō-ryū these usually refer to groupings of techniques while in aikido they usually refer to specific techniques and joint manipulations.
In the earlier years of his teaching, from the 1920s to the mid 1930s, Ueshiba taught the aiki-jūjutsu system he had earned a license in from Takeda Sokaku. His early students' documents bear the term aiki-jūjutsu.[6] Indeed, Ueshiba trained one of the future highest grade earners in Daitō-ryū, Takuma Hisa, in the art before Takeda took charge of Hisa's training.[7]
The early form of training under Ueshiba was characterized by the ample use of strikes to vital points (atemi), a larger total curriculum, a greater use of weapons, and a more linear approach to technique than would be found in later forms of aikido. These methods are preserved in the teachings of his early students Kenji Tomiki (who founded the Shodokan Aikido sometimes called Tomiki-ryū), Noriaki Inoue (who founded Shin'ei Taidō), Minoru Mochizuki (who founded Yoseikan Budo), Gozo Shioda (who founded Yoshinkan Aikido) and Morihiro Saito (who preserved his early form of aikido under the Aikikai umbrella sometimes referred to as Iwama-ryū). Many of these styles are considered "pre-war styles", although some of the teachers continued to have contact and influence from Ueshiba in the years after the Second World War.
Later, as Ueshiba seemed to slowly grow away from Takeda, he began to implement more changes into the art. These changes are reflected in the differing names with which he referred to his art, first as aiki-jūjutsu,[6] then Ueshiba-ryū,[8] Asahi-ryū,[9] aiki budō,[10] and finally aikido.[11]
As Ueshiba grew older, more skilled, and more spiritual in his outlook, his art also changed and became softer and more circular. Striking techniques became less important and the formal curriculum became simpler. In his own expression of the art there was a greater emphasis on what is referred to as kokyū-nage, or "breath throws" which are soft and blending, utilizing the opponent's movement in order to throw them. Many of these techniques are rooted in the aiki-no-jutsu portions of the Daitō-ryū curriculum rather than the more direct jujutsu style joint-locking techniques.
After Ueshiba left Hokkaidō he came under the influence of Onisaburo Deguchi, the spiritual leader of the Ōmoto-kyō religion in Ayabe. In addition to the effect on his spiritual growth, this connection was to have a major effect in introducing Ueshiba to various elite political circles as a martial artist. The Ueshiba Dojo in Ayabe was used to train members of the Ōmoto-kyō sect. He was involved in the first Ōmoto-kyō Incident, an ill-fated attempt to found a utopian colony in Mongolia.[1] Although Ueshiba eventually distanced himself from both these teachers, their effect on him and his art cannot be overstated.
The real birth of Aikido came as the result of three instances of spiritual awakening that Ueshiba experienced. The first happened in 1925, after Ueshiba had defeated a naval officer's bokken (wooden katana) attacks unarmed and without hurting the officer. Ueshiba then walked to his garden and had a spiritual awakening.
“ | ...I felt the universe suddenly quake, and that a golden spirit sprang up from the ground, veiled my body, and changed my body into a golden one. At the same time my body became light. I was able to understand the whispering of the birds, and was clearly aware of the mind of God, the creator of the universe.
At that moment I was enlightened: the source of budo is God's love - the spirit of loving protection for all beings... Budo is not the felling of an opponent by force; nor is it a tool to lead the world to destruction with arms. True Budo is to accept the spirit of the universe, keep the peace of the world, correctly produce, protect and cultivate all beings in nature.[12] |
” |
His second experience occurred in 1940 when,
"Around 2am as I was performing misogi, I suddenly forgot all the martial techniques I had ever learned. The techniques of my teachers appeared completely new. Now they were vehicles for the cultivation of life, knowledge, and virtue, not devices to throw people with."[citation needed]
His third experience was in 1942 during the worst fighting of WWII, Ueshiba had a vision of the "Great Spirit of Peace".[2]
"The Way of the Warrior has been misunderstood. It is not a means to kill and destroy others. Those who seek to compete and better one another are making a terrible mistake. To smash, injure, or destroy is the worst thing a human being can do. The real Way of a Warrior is to prevent such slaughter - it is the Art of Peace, the power of love."[citation needed]
In 1927, Ueshiba moved to Tokyo where he founded his first dojo, which still exists today under the name Aikikai Hombu Dojo. Between 1940 and 1942 he made several visits to Manchukuo (Japanese occupied Manchuria) to instruct his martial art. In 1942 he left Tokyo and moved to Iwama in the Ibaraki Prefecture where the term "aikido" was first used as a name for his art. Here he founded the Aiki Shuren Dojo, also known as the Iwama dojo. During all this time he traveled extensively in Japan, particularly in the Kansai region teaching his aikido.
In 1969, Morihei Ueshiba became ill. He died suddenly on April 26, 1969 of cancer.[13] Two months later, his wife Hatsu (植芝 はつ; Ueshiba Hatsu, née Itokawa Hatsu; 1881–1969)[14] died in turn. His son Kisshomaru Ueshiba carried forward.
In an interview Shoji Nishio reported : "At that time, a former Karate sensei of the Butokukai named Toyosaku Sodeyama who was running Konishi Sensei’s dojo and also teaching there came up to me and said: “I met someone who is like a ‘phantom’. I couldn’t strike him even once.” I was amazed that there was someone that even Sodeyama Sensei couldn’t strike. It was O-Sensei."[15]
To this day, Ōmoto-kyō priests oversee a ceremony in Ueshiba's honor every April 29 at the Aiki Shrine in Iwama.
Over the years, Ueshiba trained a large number of students, many of whom have grown into great teachers in their own right. Some of them were uchideshi, or live-in students. There are roughly four generations of students. A partial list follows:[16][17][18]
First (pre-war) generation (c.1921–c.1935) |
Second (war) generation (c.1936–c.1945) |
Third (post-war) generation (c.1946–c.1955) |
Fourth (and last) generation (c.1956–c.1969) |
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Morihei Ueshiba regularly practiced cold water misogi, as well as other spiritual and religious rites. He viewed his studies of aikido in this light.[19]
As a young man, Ueshiba was renowned for his incredible physical strength. He would later lose much of this muscle, which some believe changed the way he performed aikido technique[20]
Ueshiba was said to be a simple but wise man, and a gifted farmer. In his later years, he was regarded as very kind and gentle as a rule, but there are also stories of terrifying scoldings delivered to his students. For instance, he once thoroughly chastised students for practicing jō (staff) strikes on trees without first covering them in protective padding. Another time, as students sneaked back into the dojo after a night of drinking and brawling, he smashed the first one through the door over the head with a bokken (wooden practice sword), and proceeded to scold them.
Morihei Ueshiba played the game of Go often. During one game with Sokaku Takeda, Takeda utilized the Goban as a weapon against a man he mistook for an assassin. The "assassin" was actually a friend of Ueshiba, and had arrived in a scarf due to bad weather. The scarf hid the man's identity, triggering Takeda's paranoia as, at the time, many people actually were trying to kill him.[21]
Wikiquote has a collection of quotations related to: Morihei Ueshiba |
Preceded by (none) |
Dōshu of Aikikai 1940 – April 26, 1969 |
Succeeded by Kisshomaru Ueshiba |
Preceded by (none) |
Dōjōcho of Iwama Dōjō 1942–1964 |
Succeeded by Morihiro Saitō |
Preceded by (none) |
Dojocho of Aikikai Hombu Dojo 1931-1969 |
Succeeded by Koichi Tohei |
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Jay Leno | |
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Leno in July 2008 |
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Birth name | James Douglas Muir Leno |
Born | [1] New Rochelle, New York, U.S.[1] |
April 28, 1950
Medium | Television, Film, Stand up |
Nationality | American |
Years active | 1973–present |
Genres | Observational comedy, Political satire |
Subject(s) | American culture, Everyday life |
Influences | Johnny Carson, Robert Klein, Alan King, George Carlin,[2] Don Rickles, Bob Newhart, Rodney Dangerfield |
Influenced | Dennis Miller[3] |
Spouse | Mavis Leno (1980–present) |
Notable works and roles | The Tonight Show with Jay Leno (host, 1992–2009, 2010–) The Jay Leno Show (host, 2009–2010) |
Signature | |
Website | The Tonight Show with Jay Leno |
Emmy Awards | |
Outstanding Variety, Music or Comedy Series 1995 The Tonight Show with Jay Leno |
James Douglas Muir "Jay" Leno /ˈlɛnoʊ/ (born April 28, 1950)[1] is an American stand-up comedian and television host.
From 1992 to 2009, Leno was the host of NBC's The Tonight Show with Jay Leno. Beginning in September 2009, Leno started a primetime talk show, titled The Jay Leno Show, which aired weeknights at 10:00 p.m. (Eastern Time, UTC-5), also on NBC. After The Jay Leno Show was canceled in January 2010 amid a host controversy, Leno returned to host The Tonight Show with Jay Leno on March 1, 2010.[4]
Contents |
James "Jay" Leno was born in New Rochelle, New York, in 1950. His mother, Catherine (née Muir; 1911–1993), a homemaker, was born in Greenock, Scotland, and came to the United States at age 11. Leno's father, Angelo (1910–1994), who worked as an insurance salesman, was born in New York to immigrants from Flumeri, Italy.[5] Leno grew up in Andover, Massachusetts, and although his high school guidance counselor recommended that he drop out of school, he later obtained a Bachelor's degree in speech therapy from Emerson College, where he started a comedy club in 1973.[6] Leno's siblings include his late older brother, Patrick, who was a Vietnam veteran[7] and a lawyer.[6]
During the 1970s, Leno appeared in minor roles in several television series and films, first in the 1976 episode "J.J. in Trouble" of Good Times and the same year in the pilot of Holmes & Yo-Yo. After an uncredited appearance in the 1977 film Fun with Dick and Jane, he played more prominent parts in 1978 in American Hot Wax and Silver Bears. Other films and television series from that period include Almost Heaven (1978), "Going Nowhere" (1979) from One Day at a Time, Americathon (1979), Polyester (1981), "The Wild One" (1981) from Alice, "Feminine Mistake" (1979) and "Do the Carmine" (1983) from Laverne & Shirley.
Starting in 1987, Leno was a regular substitute host for Johnny Carson on The Tonight Show. In 1992, he replaced Carson as host[8] amid controversy with David Letterman, who had been hosting Late Night with David Letterman since 1982 (aired after The Tonight Show), who many had expected to be Carson's successor. The story of this turbulent transition was later turned into a book and a movie. Leno continued to perform as a stand-up comedian throughout his tenure on The Tonight Show.
In 2004, Leno signed a contract extension with NBC which would keep him as host of The Tonight Show until 2009.[9] Later in 2004, Conan O'Brien signed a contract with NBC under which O'Brien would become the host of The Tonight Show in 2009, replacing Leno at that time.[10]
During the 2007–08 Writers Guild of America strike, Leno was accused of violating WGA guidelines by writing his own monologue for The Tonight Show. While NBC and Leno claim there were private meetings with the WGA where there was a secret agreement allowing this, the WGA denied such a meeting.[11] Leno answered questions in front of the Writers Guild of America, West trial committee in February 2009 and June 2009, and when the WGAW published its list of strike-breakers on 11 August 2009, Leno was not on the list.[12][13]
In 1998, Leno competed in a tag-team match at the WCW's "Road Wild" pay-per-view . In 2001, he voiced The Crimson Chin, a superhero in the Nickelodeon animated series The Fairly OddParents and continues to do so today.
Leno said in 2008 that he was saving all of his income from The Tonight Show and living solely off his income from stand-up comedy.[14]
On April 23, 2009, Leno checked himself into a hospital with an undisclosed illness.[15] He was released the following day and returned to work on Monday, April 27. The two subsequently cancelled Tonight Show episodes for April 23 and April 24 were Leno's first in 17 years as host.[16][17] Initially, the illness that caused the absence was not disclosed, but later Leno told People magazine that the ailment was exhaustion.[17][18]
In the 2005 trial of Michael Jackson over allegations of child molestation, Leno appeared as a defense witness (many celebrity defense witnesses had been expected, but Leno was one of the few whose testimony was actually needed). In his testimony regarding a call by the accuser, Leno testified that he never called the police, that no money was asked for, and there was no coaching — but that the calls seemed unusual and scripted.[19]
As a result, Leno was initially not allowed to continue telling jokes about Jackson or the case, which had been a fixture of The Tonight Show's opening monologue in particular. But he and his show's writers used a legal loophole by having Leno briefly step aside while stand-in comedians took the stage and told jokes about the trial. Stand-ins included Roseanne Barr, Drew Carey, Brad Garrett, and Dennis Miller among others.[20]
Because Leno's show continued to lead all late-night programming in the Nielsen ratings, the pending expiration of Leno's contract led to speculation about whether he would become a late-night host for another network after his commitment to NBC expired.[21] Leno left The Tonight Show on Friday May 29, 2009,[22][23] and Conan O'Brien took over on June 1, 2009.
On December 8, 2008, it was reported that Leno would remain on NBC and move to a new hour-long show at 10 p.m. Eastern Time (9 p.m. Central Time) five nights a week.[24] This show follows a similar format to The Tonight Show, tapes at the same lot, and retains many of Leno's most popular segments. Late Night host Conan O'Brien was his successor on The Tonight Show.[25]
Jay Leno's new show, titled The Jay Leno Show, debuted on September 14, 2009. It was announced at the Television Critics Association summer press tour that it would feature one or two celebrities, the occasional musical guest, and keep the popular "Headlines" segments, which would air near the end of the show. First guests included Jerry Seinfeld, Oprah Winfrey (via satellite), and a short sit-down with Kanye West discussing his controversy at the 2009 MTV Video Music Awards.[26]
Wikinews has related news: US TV host Conan O'Brien rejects NBC's offer to switch his show's time slot |
In their new roles, neither O'Brien nor Leno succeeded in delivering the viewing audiences the network anticipated. On January 7, 2010, multiple media outlets reported that beginning March 1, 2010, Jay Leno would move from his 10pm weeknight time slot to 11:35pm, due to a combination of pressure from local affiliates whose newscasts were suffering, and both Leno's and O'Brien's poor ratings.[27][28] Leno's show would be shortened from an hour to 30 minutes. All NBC late night programming would be preempted by the 2010 Winter Olympics between February 15 and February 26. This would move The Tonight Show to 12:05am, a post-midnight timeslot for the first time in its history. O'Brien's contract stipulated that NBC could move the show back to 12:05 a.m. without penalty (a clause put in primarily to accommodate sports preemptions).[29]
On January 10, NBC confirmed that they would move Jay Leno out of primetime as of February 12 and intended to move him to late night as soon as possible.[30][31] TMZ reported that O'Brien was given no advance notice of this change, and that NBC offered him two choices: an hour-long 12:05am time slot, or the option to leave the network.[32] On January 12, O'Brien issued a press release that stated he would not continue with Tonight if it moved to a 12:05am time slot,[33] saying, "I believe that delaying The Tonight Show into the next day to accommodate another comedy program will seriously damage what I consider to be the greatest franchise in the history of broadcasting. The Tonight Show at 12:05 simply isn’t The Tonight Show."
On January 21, it was announced that NBC had struck a deal with O'Brien. It was decided that O'Brien would leave The Tonight Show. The deal was made that O'Brien would receive a $33 million payout and that his staff of almost 200 would receive $12 million in the departure. O'Brien's final episode aired on Friday, January 22.[34][35][36] Leno returned as host of The Tonight Show following the 2010 Winter Olympics on March 1, 2010.
On July 1, 2010, Variety reported that total viewership for Jay Leno's Tonight Show had dropped from 5 million to 4 million for the second quarter of 2010, compared to the same period in 2009. Although this represented the lowest second-quarter ratings for the show since 1992, Tonight was still the most-watched late night program, ahead of ABC's Nightline (3.7 million) and David Letterman's Late Show (3.3 million).[37] Ratings over the following summer, when compared to the same period in 2009 with O'Brien hosting The Tonight Show (including O'Brien's highly rated debut), showed that while total viewership was 12% higher for Leno, viewership in the important "adults aged 18–49" demographic was 23% lower.[38] NBC ratings specialist Tom Bierbaum commented that due to the host being out of late night television for a period of time and the subsequent 2010 Tonight Show conflict, Leno's ratings fall was "not a surprise at all".[39]
Leno has faced heated criticism and some negative publicity for his perceived role in the 2010 Tonight Show timeslot conflict.[40][41] Critics have pointed to a 2004 Tonight Show clip, wherein Leno claimed he would allow O'Brien to take over without incident.[41][42] At the time, Leno stated he didn't want O'Brien to leave for a competing network, adding, "I'll be 59 when [the switch occurs], that's five years from now. There's really only one person who could have done this into his 60s, and that was Johnny Carson; I think it's fair to say I'm no Johnny Carson."[42] Leno also described The Tonight Show as a dynasty, saying "you hold it and hand it off to the next person. And I don't want to see all the fighting..." At the end of the segment, he said, "Conan, it's yours! See you in five years, buddy!"[43]
Actor and comedian Patton Oswalt was among the first celebrities to openly voice disappointment with Leno, saying, "Comedians who don't like Jay Leno now, and I'm one of them, we're not like, 'Jay Leno sucks;' it's that we're so hurt and disappointed that one of the best comedians of our generation... willfully has shut the switch off."[44] Rosie O'Donnell has been among O'Brien's most vocal and vehement supporters,[45][46] calling Leno a "bully" and his recent actions "classless and kind of career-defining."[47]
Bill Zehme, the co-author of Leno's autobiography Leading with My Chin, told the Los Angeles Times: "The thing Leno should do is walk, period. He's got everything to lose in terms of public popularity by going back. People will look at him differently. He'll be viewed as the bad guy."[48]
NBC Sports head executive and former Saturday Night Live producer Dick Ebersol spoke out against all who had recently mocked Leno, calling them "chicken-hearted and gutless."[49]
Jeff Gaspin also defended Leno: "This has definitely crossed the line. Jay Leno is the consummate professional and one of the hardest-working people in television. It's a shame that he's being pulled into this."[48]
Paul Reiser and Jerry Seinfeld are two of the number of celebrities to have voiced support for Leno.[50][51]
Responding to the mounting criticism, Leno claimed that NBC had assured him that O'Brien was willing to accept the proposed arrangement and then would not let either host out of his contract.[52] Leno also said that the situation was "all business."[52] He appeared on the January 28 episode of The Oprah Winfrey Show in an attempt to repair some of the damage done to his public image.[53][54]
Leno has been married since 1980 to Mavis Leno; they have no children.[55]
He is known for his prominent jaw, which has been described as mandibular prognathism.[56] In the book Leading with My Chin he stated that he is aware of surgery that could reset his mandible, but does not wish to endure a prolonged healing period with his jaws wired shut.
Leno is dyslexic.[6] He claims to sleep only four to five hours each night.[57] Leno does not drink or smoke, nor does he gamble.[58] He spends most of his free time visiting car collections or working in his private garage.[58]
Leno reportedly earns $32 million each year;[59] his total net worth is unknown, but has been estimated to be at least $150 million.[60]
In 2001, along with his wife, he donated $100,000 to the Feminist Majority's campaign to stop gender apartheid in Afghanistan, to educate the public regarding the plight of women in Afghanistan under Taliban rule. Mavis Leno is on the board of the Feminist Majority.[61][62]
In 2009, he donated $100,000 to a scholarship fund at Salem State College in honor of Lennie Sogoloff. Mr. Sogoloff gave Leno his start at his jazz club, Lennie's-on-the-Turnpike.[63]
Since 1985 Jay Leno has been the grand marshal for the Love Ride, a motorcycle charity event which since its founding in 1984 has raised nearly $14 million dollars for charities benefiting muscular dystrophy research and, in 2011, Autism Speaks.[citation needed]
Leno owns approximately 100 vehicles, not including about 90 motorcycles.[65] He also has a website called "Jay Leno's Garage," which contains video clips and photos of his automobiles in detail.[66]
He has a regular column in Popular Mechanics which showcases his car collection and gives advice about various automotive topics, including restoration and unique models, such as his jet-powered motorcycle and solar-powered hybrid. Leno also writes occasional "Motormouth" articles for The Sunday Times,[67] reviewing high-end sports cars and giving his humorous take on automotive matters.
Wikiquote has a collection of quotations related to: Jay Leno |
Wikimedia Commons has media related to: Jay Leno |
Media offices | ||
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Preceded by Conan O'Brien |
Host of The Tonight Show March 1, 2010–present |
Succeeded by incumbent |
Preceded by Johnny Carson |
Host of The Tonight Show May 25, 1992 – May 29, 2009 |
Succeeded by Conan O'Brien |
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Sir Alfred Hitchcock | |
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Studio publicity photo |
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Born | Alfred Joseph Hitchcock 13 August 1899 Leytonstone, London, England, UK |
Died | 29 April 1980 Bel Air, California, US |
(aged 80)
Other names | Hitch The Master of Suspense |
Occupation | Film director, film producer |
Years active | 1921–76 |
Influenced by | D. W. Griffith, Fritz Lang, Sergei Eisenstein,[1] F.W. Murnau[2] |
Influenced | Brian De Palma, François Truffaut, Steven Spielberg, Martin Scorsese, Claude Chabrol, Robert Zemeckis, M. Night Shyamalan, David Lynch, Stanley Kubrick, Dario Argento, John Carpenter, Jonathan Demme, Tim Burton, Mel Brooks, David Fincher |
Religion | Roman Catholic[3] |
Spouse | Alma Reville (m.1926-80; his death) |
Children | Patricia Hitchcock |
Parents | William Hitchcock (father) Emma Jane Whelan (mother) |
Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)[4] was an English film director and producer.[5] He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in British cinema in both silent films and early talkies, Hitchcock moved to Hollywood. On 19 April 1955, he became an American citizen while remaining a British subject.
Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style.[6] He pioneered the use of a camera made to move in a way that mimics a person's gaze, forcing viewers to engage in a form of voyeurism.[7] He framed shots to maximise anxiety, fear, or empathy, and used innovative film editing.[7] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters.[8] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon. Hitchocks reputation as a filmmaker is offset by claims that he engaged in obsessive and controlling behaviour towards many of his leading ladies, and that in some cases this extended to physical abuse and sexual harrassment.[9]
Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."[10][11] The magazine MovieMaker has described him as the most influential filmmaker of all time,[12] and he is widely regarded as one of cinema's most significant artists.[13]
Hitchcock was born on 13 August 1899 in Leytonstone, London, England, the second son and youngest of three children of William Hitchcock (1862–1914), a greengrocer and poulterer, and Emma Jane Hitchcock (née Whelan; 1863–1942). Named Alfred after his father's brother, Hitchcock was raised Catholic and was sent to Salesian College (London)[14] and the Jesuit Classic school St Ignatius' College in Stamford Hill, London.[15][16] His mother and paternal grandmother were of Irish extraction.[17][18] He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.[19]
Around the age of 5, according to Hitchcock, he was sent by his father to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly.[20] This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films.[21]
Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London.[22] After leaving, he became a draftsman and advertising designer with a cable company called Henley's.[23]
It was while working at Henley's that he first started to dabble creatively. Upon the formation of the company's in-house publication The Henley Telegraph in 1919, Hitchcock started to submit short articles, eventually becoming one of its most prolific contributors. His first piece was Gas (1919), published in the very first issue, in which a young woman imagines that she is being assaulted one night in Paris – only for the twist to reveal that it was all just a hallucination in the dentist's chair, induced by the anaesthetic. His second piece was The Woman's Part (1919), which involves the conflicted emotions a husband feels as he watches his wife, an actress, perform onstage.[24] Sordid (1920) surrounds an attempt to buy a sword from an antiques dealer, with another twist ending. The short story And There Was No Rainbow (1920) was Hitchcock's first brush with possibly censurable material. A young man goes out looking for a brothel, only to stumble into the house of his best friend's girl. What's Who? (1920), while being very funny, was also a precursor to the famous Abbott and Costello "Who's on First?" routine. The History of Pea Eating (1920) was a satirical disquisition on the various attempts mankind has made over the centuries to eat peas successfully. His final piece, Fedora (1921), was his shortest and most enigmatic contribution. It also gave a strikingly accurate description of his future wife, Alma (whom he had not yet met).[25]
During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures.[26] In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky, and their British successor, Gainsborough Pictures,[27] designing the titles for silent movies.[28] His rise from title designer to film director took five years.
Hitchcock's last collaboration with Graham Cutts led him to Germany in 1924. The film Die Prinzessin und der Geiger (UK title The Blackguard, 1925), directed by Cutts and co-written by Hitchcock, was produced in the Babelsberg Studios in Potsdam near Berlin. Hitchcock also observed part of the making of F. W. Murnau's film Der letzte Mann (1924).[29] He was very impressed with Murnau's work and later used many techniques for the set design in his own productions. In his book-length interview with François Truffaut, Hitchcock/Truffaut (Simon and Schuster, 1967), Hitchcock also said he was influenced by Fritz Lang's film Destiny (1921).
Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled Number 13.[30] The production was cancelled due to financial problems[30] and the few scenes that were finished at that point were apparently lost. In 1925, Michael Balcon[31] of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with The Pleasure Garden made at UFA Studios[32] in Germany; the film was a commercial flop.[33] Next, Hitchcock directed a drama called The Mountain Eagle (possibly released under the title Fear o' God in the United States). This film was also eventually lost.[34] In 1926, Hitchcock's luck changed with his first thriller, The Lodger: A Story of the London Fog. The film, released in January 1927, was a major commercial and critical success in the United Kingdom.[35] As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany.[36] Some commentators regard this piece as the first truly "Hitchcockian"[37][38] film, incorporating such themes as the "wrong man".[39]
Following the success of The Lodger, Hitchcock hired a publicist to help enhance his growing reputation. On 2 December 1926, Hitchcock married his assistant director, Alma Reville, at the Brompton Oratory in South Kensington. Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator, but her contributions to his films (some of which were credited on screen) Hitchcock would discuss only in private, as she was keen to avoid public attention.[40]
In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early 'talkie', the film is frequently cited by film historians as a landmark film,[41] and is often considered to be the first British sound feature film.[42][43] With the climax of the film taking place on the dome of the British Museum, Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground.[44] In the PBS series The Men Who Made The Movies,[45] Hitchcock explained how he used early sound recording as a special element of the film, emphasising the word "knife" in a conversation with the woman suspected of murder.[46] During this period, Hitchcock directed segments for a BIP musical film revue Elstree Calling (1930) and directed a short film featuring two Film Weekly scholarship winners, An Elastic Affair (1930). Another BIP musical revue, Harmony Heaven (1929), reportedly had minor input from Hitchcock, but his name does not appear in the credits.
In 1933, Hitchcock was once again working for Michael Balcon[31] at Gaumont-British Picture Corporation.[47] His first film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is often considered one of the best films from his early period.[48] This film was also one of the first to introduce the concept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing to do with the true meaning or ending of the story. In The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock told French director François Truffaut:
There are two men sitting in a train going to Scotland and one man says to the other, "Excuse me, sir, but what is that strange parcel you have on the luggage rack above you?", "Oh", says the other, "that's a Macguffin.", "Well", says the first man, "what's a Macguffin?", The other answers, "It's an apparatus for trapping lions in the Scottish Highlands.", "But", says the first man, "there are no lions in the Scottish Highlands.", "Well", says the other, "then that's no Macguffin."[49]
Hitchcock's next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.[50]
By 1938, Hitchcock had become known for his alleged observation, "Actors are cattle". He once said that he first made this remark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However, Michael Redgrave said that Hitchcock had made the statement during the filming of The Lady Vanishes. The phrase would haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production of Mr. & Mrs. Smith, where Carole Lombard brought some heifers onto the set with name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I said 'Actors should be treated like cattle'."[51]
At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, when the Hitchcocks moved to the United States.
In Hollywood, the suspense and the gallows humour that had become Hitchcock's trademark in film continued to appear in his productions. The working arrangements with Selznick were less than optimal. Selznick suffered from perennial money problems, and Hitchcock was often displeased with Selznick's creative control over his films. In a later interview, Hitchcock summarised the working relationship thus:
[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the "only director" he'd "trust with a film".[52]
Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition, Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios compared to the financial restrictions he had frequently encountered in England.[citation needed]
Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom,[53] including his penultimate film, Frenzy.
With the prestigious Selznick picture Rebecca in 1940, Hitchcock made his first American movie, set in England and based on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. This Gothic melodrama explores the fears of a naïve young bride who enters a great English country home and must adapt to the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940.[54] The statuette was given to Selznick, as the film's producer.[54] The film did not win the Best Director award for Hitchcock.
There were additional problems between Selznick and Hitchcock. Selznick was known to impose very restrictive rules upon Hitchcock, forcing him to shoot the film as Selznick wanted.[citation needed] At the same time, Selznick complained about Hitchcock's "goddamn jigsaw cutting", which meant that the producer did not have nearly the leeway to create his own film as he liked, but had to follow Hitchcock's vision of the finished product.[55] Rebecca was the fourth longest of Hitchcock's films, at 130 minutes, exceeded only by The Paradine Case (132 minutes), North by Northwest (136 minutes), and Topaz (142 minutes).[56]
Hitchcock's second American film, the European-set thriller Foreign Correspondent (1940), based on Vincent Sheean's Personal History and produced by Walter Wanger, was nominated for Best Picture that year. Hitchcock and many other English nationals felt uneasy living and working in Hollywood while their home country was at war, so his concern resulted in the making of the film that supported the British war effort.[57] The movie was filmed in the first year of World War II and was inspired by the rapidly changing events in Europe, as fictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage of European scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code censorship, the film avoided direct references to Germany and Germans.[58]
Hitchcock's films during the 1940s were diverse, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the courtroom drama The Paradine Case (1947) to the dark and disturbing film noir Shadow of a Doubt (1943).
In September 1940, the Hitchcocks purchased the 200-acre (0.81 km2) Cornwall Ranch, located near Scotts Valley in the Santa Cruz Mountains. The ranch became the primary residence of the Hitchcocks for the rest of their lives, although they kept their Bel Air home. Suspicion (1941) marked Hitchcock's first film as a producer as well as director. Hitchcock used the north coast of Santa Cruz, California, for the English coastline sequence.[26] This film was to be actor Cary Grant's first time working with Hitchcock, and it was one of the few times that Grant would be cast in a sinister role.[26] Joan Fontaine[59] won Best Actress Oscar[26] and the New York Film Critics Circle Award[60] for her "outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)".[citation needed] In what critics regard as a classic scene[citation needed], Hitchcock uses a light bulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book the movie is based on (Before the Fact by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's image would be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut, Hitchcock settled for an ambiguous finale.[61]
Saboteur (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his career during his later years. Hitchcock was forced[citation needed] to use Universal contract players Robert Cummings and Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions of the time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. That year he also directed Have You Heard?, a photographic dramatisation of the dangers of rumours during wartime, for Life magazine.[62]
Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films,[63] was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue, and closeups it has provided a generation of film theorists with psychoanalytic potential[citation needed], including Jacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination with crime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyance of Charlotte.
Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of the survivors of a German U-boat attack in the film Lifeboat (1944). The action sequences were shot in a small boat in the studio water tank. The locale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer".[64]
While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China[citation needed], The Keys of the Kingdom, but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.[65]
Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministry of Information, Bon Voyage and Aventure Malgache. Made for the Free French, these were the only films Hitchcock made in the French language, and "feature typical Hitchcockian touches".[66] In the 1990s, the two films were shown by Turner Classic Movies and released on home video.
In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by the British Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985, when it was completed by PBS Frontline and distributed under the title Memory of the Camps.[67][68]
Hitchcock worked for Selznick again when he directed Spellbound (1945), which explored psychoanalysis[69] and featured a dream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past.[70] The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long,[citation needed] because it proved to be too disturbing for the audience. Two point-of-view shots were achieved by constructing a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on (some copies of) the black-and-white film. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert piano concerto.
Notorious (1946) followed Spellbound. According to Hitchcock, in his book-length interview with François Truffaut, Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO Radio Pictures as a "package" for $500,000 due to cost overruns on Selznick's Duel in the Sun (1946). Notorious starred Hitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It was a huge box office success and has remained one of Hitchcock's most acclaimed films[citation needed]. His use of uranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.[71]
After completing his final film for Selznick, The Paradine Case (a courtroom drama that critics found lost momentum because it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first colour film, Rope (1948). Here Hitchcock experimented with marshaling suspense in a confined environment, as he had done earlier with Lifeboat (1943). Appeaering to have been shot entirely in a single take, Rope (1948) was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10-minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make with Hitchcock. It was based on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky, heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.
Under Capricorn (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white films for several years. For Rope and Under Capricorn, Hitchcock formed a production company with Sidney Bernstein called Transatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce his own films for the rest of his life.
Hitchcock filmed Stage Fright (1950) in the UK. For the first time, he matched one of Warner Bros.'[72] biggest stars, Jane Wyman, with the sultry German actress Marlene Dietrich. Hitchcock used a number of prominent British actors, including Michael Wilding, Richard Todd, and Alastair Sim. This was Hitchcock's first production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties.[73]
With the film Strangers on a Train (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director.[74] Two men casually meet, one of whom speculates on a foolproof murder technique. He suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain.[75]
MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appear in Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.
After I Confess (1953) with Montgomery Clift, three popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the stage play by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence to pin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams), work urgently to save her from execution.[76] Hitchcock experimented with 3D cinematography. The depth effect was utilised in a major way only in one key scene. The public was growing weary of 3D by the time of the film's release, however, and it was shown in 3D only in a few first-run engagements. The 3D version has been revived from time to time, including a brief reissue in some major US cities in the 1980s. The film marked a return to color productions for Hitchcock.
Hitchcock then moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, as well as Thelma Ritter and Raymond Burr. Stewart's character, a photographer based on Robert Capa, must temporarily use a wheelchair; out of boredom he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-girlfriend (Kelly), which screenwriter John Michael Hayes based on his own wife, and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds.[77] As with Lifeboat and Rope, the principal characters were almost entirely confined to a small space, in this case Stewart's tiny studio apartment overlooking a massive courtyard. Hitchcock used closeups of Stewart's face to show his character's reactions to all he sees, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".[77]
The third Kelly film, To Catch a Thief (1955), set in the French Riviera, paired her with Cary Grant. He plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. An American heiress played by Kelly surmises his true identity, attempts to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double-entendres) and the good-natured acting proved a commercial success."[78] It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films.
Hitchcock successfully remade his own 1934 film The Man Who Knew Too Much in 1956, this time starring Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)", which won the Oscar for Best Original Song and became a big hit for her. They play a couple whose son is kidnapped to prevent them from interfering with an assassination.
The Wrong Man (1957), Hitchcock's final film for Warner Brothers, was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock's to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife (newcomer Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.[79]
Vertigo (1958) again starred Stewart, this time with Kim Novak and Barbara Bel Geddes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. The film contains a camera technique developed by Irmin Roberts that has been copied many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known by many nicknames, including Dolly zoom, "Zolly," "Hitchcock Zoom," and "Vertigo Effect."
Although the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and was the last collaboration between Stewart and Hitchcock.[80] The film is ranked second (behind Citizen Kane) in the 2002 Sight & Sound decade poll. It was premiered in the San Sebastián International Film Festival,[81] where Hitchcock won a Silver Seashell.
By this time, Hitchcock had filmed in many areas of the United States.[82] He followed Vertigo with three more successful films. Two are also recognised as among his best movies: North by Northwest (1959) and Psycho (1960). The third film was The Birds (1963).
In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent.[83] He is hotly pursued by enemy agents across America, apparently one of them being Eve Kendall (Eva Marie Saint), in fact working undercover.
Psycho is almost certainly Hitchcock's best-known film.[84] Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set.[85] The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films.[86] After completing Psycho, Hitchcock moved to Universal, where he made the remainder of his films.
The Birds, inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film.[87] He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".[88]
The latter two films had unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho were unusually dissonant, and The Birds dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by schoolchildren (just prior to the attack at the Bodega Bay School). These films are considered his last great films, after which critical opinion was usually against his new films, although some critics, such as Robin Wood and Donald Spoto, contend that Marnie (1964) is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked.
Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. He filmed two spy thrillers set with Cold War-related themes. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score. Topaz (1969), (based on a Leon Uris novel), is partly set in Cuba. Both received mixed reviews from critics.
In 1972, Hitchcock returned to London to film Frenzy. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre of earlier in his career. The basic story recycles his early film The Lodger. Richard Blaney (Jon Finch), a volatile barkeeper with a history of explosive anger, becomes the prime suspect for the "Necktie Murders," which are actually committed by his friend Bob Rusk (Barry Foster).[89] This time, Hitchcock makes the victim and villain twins, rather than opposites, as in Strangers on a Train. Only one of them, however, has crossed the line to murder.[89] For the first time, Hitchcock allowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for the chief inspector and his comic domestic life.[90] Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences".[91] Beginning with Torn Curtain, Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career.
Family Plot (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phoney powers. William Devane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.
Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, collaborating with screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed. This was due primarily to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.[92][93]
Hitchcock died in his Bel Air home of renal failure at 9:17 am on 29 April 1980. He was survived by his wife and their daughter. Hitchcock's funeral service was held at Good Shepherd Catholic Church[94] in Beverly Hills, after which his body was cremated and his remains were scattered over the Pacific Ocean.[95]
Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known "MacGuffin," an apparently minor detail serving as a pivot upon which the narrative turns.
Hitchcock appeared briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), or walking dogs out of a pet shop (The Birds).
Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.
Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best-known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was—years after Dany Robin and her "daughter" Claude Jade in Topaz—Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.
Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.[citation needed]
Hitchcock often said that his favourite film (of his own work) was Shadow of a Doubt.[96]
Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we're finished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area of compromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest." In an interview with Roger Ebert in 1969, Hitchcock elaborated further:
Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception.[97]
In Writing with Hitchcock, a book-length study of Hitchcock's working method with his writers, author Steven DeRosa noted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervised and guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the story through visual rather than verbal means. While this exasperated some writers, others admitted the director inspired them to do their very best work. Hitchcock often emphasised that he took no screen credit for the writing of his films. However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, a misconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock relied on his writers a great deal."[98]
Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years. He was reported to have never even bothered looking through the viewfinder, since he did not need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternate takes to consider.
However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book Hitchcock At Work, written by Bill Krohn, the American correspondent of Cahiers du cinéma. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop-spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.
Even when storyboards were made, scenes that were shot differed from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.
Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternate takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.
His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy with countless rounds of revision until he felt that the single image of the poster accurately represented his entire film.
"The length of a film should be directly related to the endurance of the human bladder."
Similarly, much of Hitchcock's supposed dislike of actors has been exaggerated. Hitchcock simply did not tolerate the method approach, as he believed that actors should only concentrate on their performances and leave work on script and character to the directors and screenwriters. In a Sight and Sound interview, he stated that, 'the method actor is OK in the theatre because he has a free space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some discipline'.[99] During the making of Lifeboat, Walter Slezak, who played the German character, stated that Hitchcock knew the mechanics of acting better than anyone he knew. Several critics have observed that despite his reputation as a man who disliked actors, several actors who worked with him gave fine, often brilliant performances and these performances contribute to the film's success.
For Hitchcock, the actors, like the props, were part of the film's setting, as he said to Truffaut:
In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilised and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.[100]
Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumour that he had said that actors were cattle. Hitchcock addressed this story in his interview with François Truffaut:
I'm not quite sure in what context I might have made such a statement. It may have been made...when we used actors who were simultaneously performing in stage plays. When they had a matinee, and I suspected they were allowing themselves plenty of time for a very leisurely lunch. And this meant that we had to shoot our scenes at breakneck speed so that the actors could get out on time. I couldn't help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in the cab, on the way to the theatre, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.[101]
Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought some cows along with her when she reported to the set of Mr. and Mrs. Smith.[101]
In the late 1950s, French New Wave critics, especially Éric Rohmer, Claude Chabrol and François Truffaut, were among the first to see and promote Hitchcock's films as artistic works. Hitchcock was one of the first directors to whom they applied their auteur theory, which stresses the artistic authority of the director in the film-making process.
Hitchcock's innovations and vision have influenced a great number of filmmakers, producers, and actors. His influence helped start a trend for film directors to control artistic aspects of their movies without answering to the movie's producer.
“The trouble today is that we don’t torture women enough.” —Alfred Hitchcock
Hitchcock engaged in obsessive sexually abusive behaviour towards many of his female leads. He used his position as director to seek to dominate and control his leading ladies. In the case of Tippi Hedren this extended to sexual harrassment. Hitchcock often used filming conditions to physically abuse actresses.
He insisted, for example, that Madeleine Carroll submit herself to painful physical demands during the making of The 39 Steps.
Hitchcock was a multiple nominee and winner of a number of prestigious awards, receiving two Golden Globes, eight Laurel Awards and five lifetime achievement awards, as well as being six times nominated for, albeit never winning, an Academy Award as Best Director. His film Rebecca (nominated for 11 Oscars) won the Academy Award for Best Picture of 1940—particularly notable considering the fact that another Hitchcock film, Foreign Correspondent, was also nominated that same year.
Along with Walt Disney, Hitchcock was among the first prominent motion picture producers to fully envisage just how popular the medium of television would become. From 1955 to 1965, Hitchcock was the host and producer of a television series titled Alfred Hitchcock Presents.[102] While his films had made Hitchcock's name strongly associated with suspense, the TV series made Hitchcock a celebrity himself. His irony-tinged voice and signature droll delivery, gallows humour, iconic image and mannerisms became instantly recognisable and were often the subject of parody.
The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. His introductions before the stories in his program always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are now shown with a sign "Two chairs—no waiting!" He directed a few episodes of the TV series himself, and he upset a number of movie production companies when he insisted on using his TV production crew to produce his motion picture Psycho. In the late 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.
The series used a curious little tune[103] by the French composer Charles Gounod (1818–1893),[104] the composer of the 1859 opera Faust, as the theme for his television programs, after it was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, Funeral March of a Marionette, on one of their extended play 45-rpm discs for RCA Victor during the 1950s.
Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plot similar to Blackmail.
Hitchcock appears as a character in the popular juvenile detective book series, Alfred Hitchcock and the Three Investigators. The long-running detective series was created by Robert Arthur, who wrote the first several books, although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews and Peter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book, "Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of each book, the boys report to Hitchcock, and sometimes give him a memento of their case.
When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retired detective named Hector Sebastian. At this time, the series title was changed from Alfred Hitchcock and the Three Investigators to The Three Investigators.
At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The series was a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titles included Alfred Hitchcock's Anthology, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, Alfred Hitchcock's Monster Museum, Alfred Hitchcock's Supernatural Tales of Terror and Suspense, Alfred Hitchcock's Spellbinders in Suspense, Alfred Hitchcock's Witch's Brew, Alfred Hitchcock's Ghostly Gallery, Alfred Hitchcock's A Hangman's Dozen and Alfred Hitchcock's Haunted Houseful. Hitchcock himself was not actually involved in the reading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entire extent of his involvement with the project was to lend his name and collect a check.
Some notable writers whose works were used in the collection include Shirley Jackson (Strangers in Town, The Lottery), T.H. White (The Once and Future King), Robert Bloch, H. G. Wells (The War of the Worlds), Robert Louis Stevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of The Three Investigators, Robert Arthur.
Hitchcock also wrote a mystery story for Look magazine in 1943, "The Murder of Monty Woolley". This was a sequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick and make-up man Guy Pearce, whom Hitchcock identified, in the last photo, as the murderer. The article was reprinted in Games Magazine in November/December 1980.
In September 2010, BBC Radio 7 broadcast a series of five fifteen-minute programs entitled The Late Alfred Hitchcock Presents with Michael Roberts impersonating Alfred Hitchcock for introductory/concluding comments and reading the stories in his own voice. These five stories were originally intended for the television series, but were rejected because of their rather gruesome nature:
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Fats Waller | |
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Background information | |
Birth name | Thomas Wright Waller |
Born | May 21, 1904 |
Origin | New York, New York, U.S.A. |
Died | December 15, 1943 | (aged 39)
Genres | Dixieland, jazz, swing, stride, ragtime |
Occupations | Pianist, singer, organist |
Instruments | Piano, vocals, organ |
Years active | 1918–1943 |
Fats Waller (May 21, 1904 – December 15, 1943), born Thomas Wright Waller, was a jazz pianist, organist, composer, singer, and comedic entertainer.
Contents |
Thomas Wright Waller was the youngest of four children born to Adaline Locket Waller and the Reverend Edward Martin Waller. He started playing the piano when he was six and graduated to the organ of his father's church four years later. At the age of fourteen he was playing the organ at Harlem's Lincoln Theater and within twelve months he had composed his first rag. Waller's first piano solos ("Muscle Shoals Blues" and "Birmingham Blues") were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson. Fats Waller was the son of a preacher and learned to play the organ in church with his mother. Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson's "Carolina Shout", a song he learned from watching a player piano play it.
Waller was one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as "Honeysuckle Rose", "Ain't Misbehavin'" and "Squeeze Me". Fellow pianist and composer Oscar Levant dubbed Waller "the black Horowitz".[1] Waller composed many novelty swing tunes in the 1920s and 1930s and sold them for relatively small sums. When the compositions became hits, other songwriters claimed them as their own. Many standards are alternatively and sometimes controversially attributed to Waller.
The anonymous sleeve notes on the 1960 RCA (UK) album Handful of Keys state that Waller copyrighted over 400 new songs, many of which co-written with his closest collaborator Andy Razaf. Razaf described his partner as "the soul of melody... a man who made the piano sing... both big in body and in mind... known for his generosity... a bubbling bundle of joy".[citation needed] Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller's recording technique with considerable admiration. "Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed. After a balance had been taken, we'd just need one take to make a side, unless it was a kind of difficult number."
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You Got Everything A Sweet Mama Needs But Me, sung by Sara Martin with piano accompaniment by Fats Waller in 1922.
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'tain't Nobody's Bus'ness If I Do, sung by Sara Martin with piano accompaniment by Fats Waller in 1922.
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Waller played with many performers, from Nat Shilkret (on Victor 21298-A) and Gene Austin to Erskine Tate to Adelaide Hall, but his greatest success came with his own five- or six-piece combo, "Fats Waller and his Rhythm".
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone. Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the "surprise guest" at Capone's birthday party, and took comfort that the gangsters didn't intend to kill him. According to rumor, Waller played for three days. When he left the Hawthorne Inn, he was very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.[2]
In 1926, Waller began his recording association with Victor Records, his principal record company for the rest of his life, with the organ solos "St. Louis Blues" and his own composition, "Lenox Avenue Blues". Although he recorded with various groups, including Morris's Hot Babes (1927), Fats Waller's Buddies (1929) (one of the earliest interracial groups to record), and McKinney's Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: "Handful of Keys", "Smashing Thirds", "Numb Fumblin'", and "Valentine Stomp" (1929). After sessions with Ted Lewis (1930), Jack Teagarden (1931), and Billy Banks's Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm. This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John "Bugs" Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
Waller wrote "Squeeze Me" (1919), "Keepin' Out of Mischief Now", "Ain't Misbehavin'" (1929), "Blue Turning Grey Over You", "I've Got a Feeling I'm Falling" (1929), "Honeysuckle Rose" (1929), and "Jitterbug Waltz" (1942). He collaborated with the Tin Pan Alley lyricist Andy Razaf. He composed stride piano display pieces such as "Handful of Keys", "Valentine Stomp" and "Viper's Drag".[citation needed]
He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC broadcasts. While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John's Wood. He appeared in several feature films and short subject films, most notably "Stormy Weather" in 1943, which was released July 21, just months before his death. For the hit Broadway show, "Hot Chocolates", he and Razaf wrote "(What Did I Do to Be So) Black and Blue" (1929), which became a hit for Ethel Waters and Louis Armstrong.
Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs (notably, "Ain't Misbehavin'"). In addition to his playing, Waller was known for his many quips during his performances.
Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full sized church organ.
Waller contracted pneumonia and died on a cross country train trip near Kansas City, Missouri on December 15, 1943, after making a final recording session with an interracial group in Detroit that included white trumpeter Don Hirleman. He was on his way back to Hollywood for more film work, after the smash success of "Stormy Weather". Ironically, as the train with the body of Waller stopped in Kansas City, so stopped a train with his dear friend Louis Armstrong on board.
A Broadway musical revue showcasing Waller tunes entitled Ain't Misbehavin' was produced in 1978. (The show and a star of the show, Nell Carter, won Tony Awards.) The show opened at the Longacre Theatre and ran for over 1600 performances. It was revived on Broadway in 1988. Performed by five African American actors, it included such songs as "Honeysuckle Rose", "This Joint Is Jumpin'", and "Ain't Misbehavin'".
Year Inducted | Title |
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2008 | Gennett Records Walk of Fame |
2005 | Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame |
1993 | Grammy Lifetime Achievement Award |
1989 | Big Band and Jazz Hall of Fame |
1970 | Songwriters Hall of Fame |
Recordings of Fats Waller were inducted into the Grammy Hall of Fame which is a special Grammy award established in 1973 to honour recordings that are at least 25 years old and that have "qualitative or historical significance".
Fats Waller: Grammy Hall of Fame Awards[3] | |||||
Year Recorded | Title | Genre | Label | Year Inducted | Notes |
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1934 | Honeysuckle Rose | Jazz (Single) | Victor | 1998 | — |
1929 | Ain't Misbehavin' | Jazz (Single) | Victor | 1984 | Listed in the National Recording Registry by the Library of Congress in 2004. |
Title | Recording Date | Recording Location | Company |
---|---|---|---|
African Ripples | 3-11-1935 | New York, New York | Bluebird B-10115 |
After You've Gone | 3-21-1930 | New York, New York | Victor 22371-B |
A Handful Of Keys | 3-1-1929 | Camden, New Jersey | Victor |
Ain't Misbehavin' | 8-2-1929 | Camden, New Jersey | Victor |
All God's Chillun Got Wings | 8-28-1938 | London, England | Victor 27460 |
Alligator Crawl | 11-16-1934 | New York, New York | Bluebird B-10098 |
Baby Brown | 3-11-1935 | New York, New York | HMV |
Baby, Oh! Where Can You Be? | 8-29-1929 | Camden, New Jersey | Victor |
Basin Street Blues | 3-11-1935 | New York, New York | Bluebird B-10115 |
Because Of Once Upon a Time | 3-11-1935 | New York, New York | RFW |
Believe It, Beloved | 3-11-1935 | New York, New York | HMV |
Birmingham Blues | 10-21-1922 | New York, New York | Okeh 4757-B |
Blue Black Bottom | 2-16-1927 | Camden, New Jersey | Victor |
Blue Turning Gray Over You | 3-11-1935 | New York, New York | HMV |
California, Here I Come | 3-11-1935 | New York, New York | HMV |
Carolina Shout | 5-13-1941 | New York, New York | Victor |
Clothes Line Ballet | 3-11-1935 | New York, New York | Victor 25015 |
Deep River | 8-28-1938 | London, England | Victor 27459 |
Goin' About | 9-11-1929 | New York, New York | Victor |
Gladyse | 8-2-1929 | Camden, New Jersey | Victor |
Go Down, Moses | 8-28-1938 | London, England | Victor 27458 |
Honeysuckle Rose | 3-11-1935 | New York, New York | HMV |
I'm Crazy 'Bout My Baby | 3-11-1935 | New York, New York | HMV |
I've Got A Feeling I'm Falling | 8-2-1929 | Camden, New Jersey | Victor |
Jitterbug Waltz | 16-3-1942 | Camden, New Jersey | Victor |
Keeping Out Of Mischief Now | 6-11-1937 | New York, New York | Bluebird 10099 |
Lennox Avenue Blues | 11-17-1922 | Camden, New Jersey | Victor 20357-B |
Lonesome Road | 8-28-1938 | London, England | Victor 27459 |
Minor Drag | 3-1-1929 | New York, New York | Victor |
Messin' Around With The Blues Blues | 1-14-1927 | Camden, New Jersey | Victor |
My Fate Is In Your Hands | 12-4-1929 | New York, New York | Victor |
My Feelin's Are Hurt | 12-4-1929 | New York, New York | Victor |
Numb Fumblin' | 3-1-1929 | Camden, New Jersey | Victor |
Russian Fantasy | 3-11-1935 | New York, New York | HMV |
Soothin' Syrup Stomp | 1-14-1927 | Camden, New Jersey | Victor |
Sloppy Water Blues | 1-14-1927 | Camden, New Jersey | Victor |
Smashing Thirds | 9-24-1929 | New York, New York | Victor |
Sweet Savannah Sue | 8-2-1929 | Camden, New Jersey | Victor |
Smashing Thirds | 9-24-1929 | New York, New York | Victor |
The Rusty Pail | 1-14-1927 | Camden, New Jersey | Victor |
That's All | 8-29-1929 | Camden, New Jersey | Victor 23260 |
Valentine Stomp | 8-2-1929 | Camden, New Jersey | Victor |
Vipers Drag | 11-16-1934 | New York, New York | HMV |
Zonky | 3-11-1935 | New York, New York | HMV |
Title | Director | Year |
---|---|---|
King of Burlesque | Sidney Lanfield | 1936 |
Hooray for Love | Walter Lang | 1935 |
Stormy Weather | Andrew L. Stone | 1943 |